It’s the cinematic equivalent of a cluttered, over-festooned moveable tableau where all the ingredients seem to be jostling for attention in such a way that nothing ultimately rises to the surface. The film does have its moments.īut this is pure Bhansali all the way, a benumbing overload of visual razzle-dazzle and emotional flourishes deployed for the sole purpose of overwhelming the audience. That, in a nutshell, is Goliyon ki Raasleela Ram-Leela for you. It is a bit of a miracle that the film doesn’t actually implode and disintegrate in a giant blaze like some explosives-laden Ravana effigy on a festive night. The director, true to form, also plays around with shadows, silhouettes and blinding flashes of light, but does so far too self-consciously for his labour to be truly effective.

Goliyon ki Raasleela Ram-Leela is composed of such a riot of colours that the hues often bleed into each other, leaving behind blobs and blurs. It all adds up to a somewhat disorienting sensory assault mounted by a filmmaker who believes that excess makes excellent sense.

The film doles out super large helpings of everything under its grandiose narrative canopy – be it the oft-repeated story of star-crossed lovers, the garish sets, the musical score, the choreography, the costumes, the pitch of the acting, the delineation of the principal characters or the saturated colour palette.Įven on the rare occasion where he gives minimalism an attempted shot, as when he lets the characters articulate themselves only through physical gestures and facial expressions, SLB does not pipe down one bit. Ram-Leela has, on a court order, been rechristened Goliyon ki Raasleela Ram-Leela. Unbridled cinematic hedonism is par for the course. When it’s Sanjay Leela Bhansali, Bollywood’s Maximum Man, rest assured that half measures are never an option.

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